St Petersburg, Mariinsky II

Marco Spada


ballet by Daniel Auber

PERFORMANCE BY THE BOLSHOI THEATRE

Performers

Conductor:

Alexei Bogorad

Marco Spada: Igor Tsvirko
Angela: Maria Koshkaryova
Marchioness Sampietri: Maria Vinogradova
Prince Federici: Dmitry Vyskubenko
Count Pepinelli: Alexei Putintsev

Premiere of the production: 8 November 2013, the Bolshoi Theatre.
Revival: 14 June 2023


Running time: 3 hours 5 minutes
The performance has two intervals

Age category 12+

Credits

Music by Daniel Auber
Choreography: Pierre Lacotte
Sets and Costumes: Pierre Lacotte
Music Director: Alexei Bogorad
Lighting Designer: Damir Ismagilov

SYNOPSIS

Act I
Scene I
Villagers gathered for a wedding complain to the Governor of Rome about the outrages committed by a certain Marco Spada. No one has ever seen him, yet rumours of his thefts circulate throughout the district. A regiment of dragoons enters the village. Its commander, Count Pepinelli, cannot resist the charms of the Marchioness Sampietri, the Governor’s daughter. Alas, she is betrothed to Prince Federici.
Taking advantage of the general confusion, Marco Spada, unrecognised in the crowd, lightens the pockets of the onlookers. Panic breaks out among the villagers. Rain scatters the crowd. Only Brother Borromeo remains in the square – and the bandit has deftly stolen all the donations he had collected.

Scene II
The Marchioness, the Governor, and Count Pepinelli, having lost their way during a mountain excursion, have no idea that they have found shelter in Marco Spada’s house. Angela, the bandit’s daughter, also knows nothing of her father’s criminal dealings.
Spada’s accomplices, believing the house to be empty, swiftly fill the room – only to disappear just as suddenly. Pepinelli, who has witnessed the scene, warns Spada that thieves have attacked his house. The dragoons prepare to defend the house. Once again, the trapdoors open and the paintings on the walls shift from their places – but only so that, before the astonished guests, a festively laid table and beguiling beauties may mysteriously appear.

Act II
Marco Spada and Angela have been invited to the Governor’s ball. Just as Federici is about to ask Spada for his daughter’s hand, Brother Borromeo appears and complains to everyone about the criminal whose victim he has recently become. Borromeo declares that he would be able to recognise the thief.
Fearing exposure, Spada decides to slip away, but Borromeo has already seen him. Angela guesses the truth. Shocked by what she has discovered, she refuses Prince Federici. In anger, the Prince announces to those assembled that he will soon marry the Marchioness – news that inevitably distresses Pepinelli.

Act III
Scene I
Pepinelli decides to confess his love to the Marchioness one last time. But she comes out to him in her wedding dress: she has already made her choice. Suddenly, bandits appear from every side and abduct both the young woman and the Count.

Scene II
Surrounded by his accomplices, Marco Spada is astonished to see Angela dressed like one of the bandits. “For life or death! I accept my fate and wish to live with you…” Against his will, Brother Borromeo has to marry the Marchioness and Pepinelli.
From afar comes the sound of an approaching regiment. The bandits prefer to hide in a cave, seizing Federici and the Governor along the way when they happen to cross their path. Angela, however, saves them both.
Shots ring out nearby. Marco Spada has been mortally wounded. He returns, barely able to stand. Before dying, he addresses the stunned soldiers and tells them that Angela is not his daughter. This lie spares Angela from arrest and allows Prince Federici to marry her.


The ballet about the noble bandit Marco Spada, who robs the rich while hiding behind the mask of an aristocrat, first appeared at the Opéra de Paris in the mid-19th century. Daniel Auber first composed an opera on this adventurous subject and, after its success, reshaped its most successful numbers into a ballet score, with choreography by Joseph Mazilier. The production remained on the Paris stage for several seasons before, like so many ballets of its time, sinking into oblivion.

The elaborate plot, once a favourite with audiences, returned to the stage at the end of the 20th century thanks to Pierre Lacotte, a French choreographer with a passion for the past. Lacotte’s signature lay in creating his own versions of lost masterpieces, with historical research as his source of inspiration. Almost nothing survived of the 19th century Marco Spada, so he created the ballet virtually from scratch. He retained the adventure plot and Auber’s music but devised choreography shaped by the demands of modern technique, sparing neither male nor female dancers, and filling the ballet with formidable classical variations.

The premiere took place at the Teatro dell’Opera di Roma in 1981. The production later entered the repertoires of other theatres, and in 2013 its revised version appeared at the Bolshoi Theatre of Russia. Lacotte, who greatly admired Russian dancers, gave the company an opportunity to display its full richness and range. Two ballerina roles, three leading male parts, soloist roles, dances for the corps de ballet, and pantomime scenes all form the fabric of this colourful production. Character roles and transformations, intricate filigree footwork, the elegance of aristocratic duets, and the splendour and charm of an old-world setting make this ballet a generous gift both to the artists and to the audience.


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